May 18, 2011
Mark E - Stone Breaker

And while I’m on topic for all things CHEWN related, thought I would be all ahead of the game and give you the heads up on Eclectic Picnic fave and general House ledgehammer Mark E’s album. More renowned for his anorak approach to collecting the finest house music known to man, and indeed proceeding to spin it in style, he has laboured and toiled on some of his own tracks for quite a while. As a remixer, he’s rarely disappointed(Carl Craig’s Think Twice, excellent example), so there has been some high expectations regarding this collection of tracks, making up an album entitled: ‘Stone Breaker’. I’ve had a brief one or two listens thus far and I’m getting into it, it showcases his distinctive slow tempo style, while still seeming to encompasses plenty of the heavier techno elements, and healthy doses of deep house… Bring it on. Its hot off the press.

The stand out, Black Moon, is linked above if you want to bang it out…

April 6, 2011
Heartworm

I was going through my external and stumbled across this ‘classic album review’, which was written once for the University newspaper, and must be about 7 years old at this stage. Funny thing is, these type of things usually date rapidly, and the cringe factor is untenable. No doubt at that naive and impressionable juncture there was countless acts of mediocrity I was championing. Not Whipping Boy though. I remember something about them struck me when they were around, despite the fact I was only 11 or 12. I then spent a few years desperately trying to find a copy of Heartworm, which I eventually did, when it was deservedly re released circa 2003/2004. It didn’t fail to disappoint, but rather bowled me over and has remained a standout ever since, not just for me, but for most people who have developed an affinity with it. So for that reason, its odd that I still stand by every word written below. Or maybe not that odd. Because it will always be a brilliant album. I might just go and listen to it again now… Whats not to be enthralled about by a band described as like “James Joyce and Martin Scorcese pissed up and morose ready to hit the confessional with all they have got.”?

‘Every once in a while, a truly exceptional record is released. These rare gems often tend to be bordering on near perfection, are light years ahead of their time and are quite simply earth shattering. Whipping Boy’s 1995 masterpiece ‘Heartworm’ is somewhere near that. The Dublin quartet managed to pour all their guts, brains and vivacity into a melting pot of creativity to produce the most intense, emotional and passionate audio experience you’re likely to hear. Indeed, from the cello laden opening of ‘Twinkle’ to the rousing passion of closing track ‘A Natural’, the listener will be taken on a turbulent rollercoaster ride. It will shake you right to the core.

            The key to ‘Heartworm’s brilliance is frontman Fearghal McKee. His deeply captivating voice sends shivers down the spine. In addition, his ability as a lyricist borders on genius. For instance, on the subject of life in Ireland in ‘We don’t need nobody else’, he proclaims eloquently: “You are what you own in this land, you can’t be king and it all depends on the view and what you can see”

The voice allows him to tell his tales of struggling love and anger (‘We don’t need nobody else’) existence (‘Personality’) and the exuberance of youth (‘When we were young’)

            The music goes perfectly in tandem with McKee and ably serves to illustrate the emotion involved. The rhythm section of Myles McDonnell (Bass) and Colm Hassett (Drums) provide a solid backdrop for Paul Page’s innovative guitar playing. Drawing from Echo and the Bunnymen-esque riffs and hooks, Page’s attractive and unorthodox style adds hugely to the album’s uniqueness. Along with Warne Livesey’s exceptional production, ‘Heartworm’ is almost musically faultless. All in all, it is a spectacular platform upon which McKee can sing his poetry.

            While songs such as ‘Twinkle’ and ‘We don’t need no nobody else’ exude a fiery passion, the band shows they are capable of striking a perfect balance. Songs such as the string laden, tender ‘Morning Rise’ and ‘Personality’ explore ‘Heartworm’s more soothing and tranquil side. In ‘A Natural’, the essence of the album is beautifully caught. Singing autobiographically to a backdrop of oboes and strings, McKee oozes pure emotion. Just at the right time, the band enters to ensure a rousing a fitting finale to the album. In a word, majestic.                                

 In a perfect and fair world, ‘Heartworm’ would have sold millions of copies, would have become an all time great release and Whipping Boy would be gracing the world’s largest stages. Instead, this album has become the proverbial lost classic. Unfortunately, record company impatience ensured the album gradually disappeared without trace. When one listens to one of the standout tracks ‘When we were young’; the refrain of “What might have been” is now eerily tinged with irony.’                          

July 17, 2010
Broken Bells

Discovering Broken Bells eponymous album has been a personal massive shot in the arm, as the project brought together two luminaries who I had essentially forgotten about, or just completely taken for granted. Consisting of The Shins frontman James Mercer and Gnarls Barkley knob twiddler Brian ‘Danger Mouse’ Burton, both had vanished from my consciousness in the past few years. I recall being completely engrossed by The Shins ‘Oh, Inverted World’ years ago, and playing their brand of endearing indie pop to death, before never following up on further material and consigning them to my own personal dusty archive. I neglected Danger Mouse meanwhile, purely for the fact that Gnarls Barkley were just so damn omnipresent, and my own irrational inability to warm to Cee-Lo Green. When I first heard of this project, I was intrigued, as it seemed like one of these ideas that just might not work on paper.

       A folky/poppy songwriter armed with an acoustic guitar, working with a mercurial and unpredictable talent behind the desk, it could easily go horribly awry. But work it has, in solidly spectacular style, and we might be looking at one of the albums of the year. To say I was pleasantly surprised is an understatement. On first listen, I couldn’t decide which songs stood out due to sheer consistency, and could only come to the conclusion that this is so good, that it is essentially one long brilliant song. Both parties have managed to strike a perfect balance to create an expertly controlled blend of seamless dreamy pop. Danger Mouse(although he claims it is experimental) utilises and endless back of production tricks to best of his ability, without once going overboard. A variety of lush strings, gentle brass, melodic keys, enchanting new sounds, and the most delicate and precise beats permeate this record throughout, never once getting well worn or repetitive. Stepping up to the plate, Mercer’s songwriting is nailed on the head, sharp and concise, with melodic hooks you could hang the proverbial coat on. He is a million miles away from the singer I was familiar with in the ‘Oh! Inverted World’ era. Back then, his voice could feasibly been that of any quirky indie band with a two album lifespan. On this record, his voice has grown immeasurably, and now has a commanding and assured maturity, singing his his lyrics with a marked assertiveness.

He also manages to add great variety to his voice, which lends itself to progression of this album and keeps you coming back for more. With this combined, the cohesiveness and sound of this album is a serious achievement. ‘Citizen’ is a great example of Danger Mouse’s array of skills and Mercer controlling his song. It reminds me of what Air were doing with their Virgin Suicides soundtrack, except much more dense, accomplished and resonating, thereby allowing you immerse yourself in their creation of a dreamy, ethereal soundscape. After much deliberation though, I reckon the final track ‘Mall and Misery’ represents the peak of the album, and it is fitting that it should finish on a high. With gorgeous strings and plucking guitar building as an intro, it kicks into a forceful electronica kick/snare combo, before Mercer stamps in with commanding yet gentle vocals, and a ridiculously catchy jangly riff, before a chorus of brilliantly harmonised vocal patterns. Its probably the best example of Broken Bells letting loose and’rocking out’, yet the razor sharp production and song pattern remains so consistent, which is also markedly appropriate for the sheer mastery of the overall long player.

Since I started listening to it, I’ve found it irresistable, and and constantly flick back to start all over again upon completion. Albums like this are actually vital, because they manage to restore your faith in what REAL pop music is all about, and for Broken Bells, that is already a sizeable achievement in itself. However, this album is so impressive in so many facets, I think that logic of thinking may be mere minutiae. Its top quality, go check out, it won’t disappoint! (Way better than Gnarls Barkley anyway…)